Liberty Heights

Based on this score and the gorgeous theme he contributed to Cinema Paradiso, I would suggest that when time finally catches up with Ennio Morricone, his legacy will survive in his son Andrea. I admit that Andrea hasn't yet displayed his father's ability to conjur up astoundingly bizarre soundscapes and unusual music, he has certainly inherited a lyrical side that is certainly equal to Ennio's. It should be said that Liberty Heights is not the kind of score that requires a hugely innovative score, but it is so easy to write music for such drama films that is subtle to the point of ineffectual and non-existant. Even if it doesn't break new ground, it still has neat orchestral touches that push it way beyond what most young Hollywood composers might have produced.

The album starts as a kind of, 'I was a Teenage Woody Allen' with a junior narrator giving us a brief introduction (literally 20 seconds or so) before Morricone's music starts up. Indeed, anyone familiar with Morricone Senior's sound will likely recognise the style of writing, even if everything melodically is purely of Andrea's own making. The main theme is simply wonderful and will stick in the mind. It is not overused during the rest of the album and often only alluded to, which is almost a shame since such a charming, warming and gorgeous theme deserves to be heard more often. A notably lovely arrangement is provided in Graduation which is certainly an early highlight. As I mentioned, this isn't pushing down the walls of modern music, but then it was never going to be. However, tracks such as Down a Baltimore Street use flutes and strings in a more oblique way to give a somewhat stark contrast to the general richness of the other music.

The second major theme is no less attractive and is presented most gorgeously during Youth Theme on solo viola, beautifully played by Fausto Anzelmo and accompanied on piano, before the rest of the string section starts to join it. It seems curious that for all the obvious Morricone sound that this theme especially bears similarity to Randy Newman's score to Avalon which was also directed by Barry Levinson. The lilting turn of the century feel and high strings certainly allude to Newman's style, although there is not a whiff of any direct melodic similarity. The final track sums up with several statements of the main theme, the first on solo piano covered with a little more narration (which is barely intrusive) before the orchestra joins in for a lump in throat finale.

Like a broken record, I feel it is my duty to point out that this is how intimate dramas should, ideally scored. Barry Levinson clearly has exquisite taste in composers. He has used Ennio Morricone several times, John Williams on Sleepers, Randy Newman on both Avalon and The Natural and the legendary Alex North for Good Morning Vietnam, a score which remains frustratingly unreleased. This is yet another fabulous addition to not only Andrea Morricone's film and discography, but another excellent film music choice by Levinson. I would certainly add Andrea Morricone to the worryingly short list of Randy Newman and Elmer Bernstein who always score this kind of film with such perfection, it really puts most other composers to shame. A wonderful score and recommended in every way.